Research is increasingly recognised as a key component of medical curricula, offering a range of benefits including development of skills in evidence-based medicine. The literature indicates that experienced academic supervision or mentoring is important in any research activity and positively influences research output. The aim of this project was to investigate the human research ethics experiences and knowledge of three groups: medical students, and university academic staff and clinicians eligible to supervise medical student research projects; at two Australian universities. Training (...) in research ethics was low amongst academic staff and clinicians eligible to supervise medical student research. Only two-thirds of academic staff and students and less than half of clinicians surveyed indicated that specific patient consent was required for a doctor to include patient medical records within a research publication. There was limited awareness of requirements for participant information and consent forms amongst all groups. In the case of clinical trials, fewer clinicians and students than academics indicated there was a requirement to obtain consent. Awareness of the ethics committee focus on respect was low across all groups. This project has identified significant gaps in human research ethics understanding among medical students, and university academic staff and clinicians. The incorporation of research within medical curricula provides the impetus for medical schools and their institutions to ensure that academic staff and clinicians who are eligible and qualified to supervise students’ research projects are appropriately trained in human research ethics. (shrink)

In this article, the authors use the context of childbirth to consider the power that is endemic in certain forms of evidence within maternity care research. First, there is consideration of how the current evidence hierarchy and experimental‐based studies are the gold standard to determine and direct women's maternity experiences, although this can be at the detriment of care and irrespective of women's needs. This is followed by a critique of how the predominant means to assess women's experiences via satisfaction (...) surveys is of limited utility, offering impartial and restricted insights to assess the quality of care provision. A counter position of hermeneutic phenomenology as research method is then described. This approach offers an alternative perspective by penetrating the taken‐for‐granted ordinariness of an event (such as childbirth) to elicit rich emic meanings. Whilst all approaches to understanding maternity care have a place, depending on the question(s) being asked, the contribution of phenomenology is how it can uncover a depth of contextual understanding into what matters to women and to inform and transform care delivery. (shrink)

Qualitative research, particularly phenomenology, is increasingly popular as a method for midwifery and health-related research. These approaches enable rich and detailed explanations to be uncovered and bring experience to life. Important recommendations and practice- based implications may then be raised and debated for future use. This book brings together a range of phenomenological methods and insights into one accessible text. Illustrated with plenty of examples of successful phenomenological research, Qualitative Research in Midwifery and Childbirth keeps the focus applied to (...) midwifery and childbirth and makes clear the links to practice throughout. The book introduces three key phenomenological approaches âe" descriptive, interpretive and the life world âe" and includes a comparative chapter which discusses the differences between these varied perspectives and methods. Each chapter focuses on how these approaches are used within midwifery research. The remaining chapters present a number of different research projects. These demonstrate how different phenomenological approaches have been used to explore and uncover experiences of childbirth and maternity as well as offering important insights into how women experience different facets of the birth experience during the antenatal, intra-partum and postnatal period. Designed for researchers and students undertaking research projects on midwifery and childbirth, this text includes contributions from a range of international and highly regarded phenomenological authors and researchers. (shrink)

This book is a unique modern analysis of the genealogy of morals. Accessible and full of details about ethical trends and the catalysts which shape them, it encompasses an amazing breadth of information, taking examples from virtually every culture and through every historical era. The provocative theme is that morality is as subject to fashion and the whims of the rich and powerful in society as any other aspect of human life. The common thread is the existence at certain (...) times of moral codes which allow, perhaps even encourage such actions and beliefs. This compelling study offers an insight into the complex relationship between what a society believes and how it behaves. Driven by envy, idolatry, greed, racism, megalomania or lust, there is no end to the creativity of sinners and no greater challenge than to understand what we mean by 'sin'. (shrink)

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, (...) the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic-ethical value relation. (shrink)

ON PHILOSOPHY challenges and stimulates its readers to identify and deliberate about crucial philosophical issues. The book deals with some of the central areas of philosophy, such as the nature of God, perception, the relation between the mind and body, and ethics. It provides practical guidance on how to think philosophically, with appendices on critical thinking, analysis, logic, reading, and writing. The Wadsworth Philosophical Topics Series presents readers with concise, timely, and insightful introductions to a variety of traditional and contemporary (...) philosophical subjects. With this series edited by Robert Talisse of Vanderbilt University, philosophy students will be able to discover the richness of philosophical inquiry across a wide array of concepts, including hallmark philosophical themes and topics typically underrepresented in mainstream philosophy publishing. Written by a distinguished list of scholars who have been noted for their exceptional teaching abilities, this series presents the vast sweep of today's philosophical exploration in highly accessible and affordable volumes. These books will prove valuable to philosophy teachers and their students as well as to other readers who share a general interest in philosophy. (shrink)

This volume advances the contemporary debate on five central issues in the philosophy of film. These issues concern the relation between the art and technology of film, the nature of film realism, how narrative fiction films narrate, how we engage emotionally with films, and whether films can philosophize. Two new essays by leading figures in the field present different views on each issue. The paired essays contain significant points of both agreement and disagreement; new theories and frameworks are proposed at (...) the same time as authors review the current state of debate. Given their combination of richness and clarity, the essays in this volume can effectively engage both students, undergraduate or graduate, and academic researchers. (shrink)

This article examines the origins and development of J. J. Thomson's chemical thought, and the reception of his theories by chemists. Thomson's interest in chemical combination and atomic theories of matter dates from his formative schooldays at Owens College, Manchester. These themes constituted a persistent leitmotif in the development of Thomson's style of thought, and provided a powerful stimulus which enabled him to enunciate the concept of electrons as fundamental particles. Thomson's influence on chemists during the (...) years 1903 to 1923 reflects the richness and fertility of his chemical thought. He influenced the absorption of the Victorian physical tradition by American chemists, thus adding a mechanistic, picture-embedded style to theoretical chemistry. Thomson's style of thought resonated with the needs of American chemists, but was ignored in Germany. (shrink)

A rigorous treatment of a thought experiment that has become notorious within and outside of philosophy - The Trolley Problem - by one of the most influential moral philosophers alive todaySuppose you can stop a trolley from killing five people, but only by turning it onto a side track where it will kill one. May you turn the trolley? What if the only way to rescue the five is to topple a bystander in front of the trolley so that his (...) body stops it but he dies? May you use a device to stop the trolley that will kill a bystander as a side effect? The "Trolley Problem" challenges us to explain and justify our different intuitive judgments about these and related cases and has spawned a huge literature. F.M. Kamm's 2013 Tanner Lectures present some of her views on this notorious moral conundrum. After providing a brief history of changing views of what the problem is about and attempts to solve it, she focuses on two prominent issues: Does who turns the trolley and how the harm is shifted affect the moral permissibility of acting? The answers to these questions lead to general proposals about when we may and may not harm some to help others. Three distinguished philosophers - Judith Jarvis Thomson, Thomas Hurka, and Shelly Kagan - then comment on Kamm's proposals. She responds to each comment at length, providing an exceptionally rich elaboration and defense of her views. The Trolley Problem Mysteries is an invaluable resource not only to philosophers concerned about the Trolley Problem, but to anyone worried about how we ought to act when we can lessen harm to some by harming others and how we can reach a decision about the question. (shrink)

Volume 12 of the Progress in Self Psychology series begins with reassessments of frustration and responsiveness, optimal and otherwise, by MacIsaac, Bacal and Thomson, the Shanes, and Doctors. The philosophical dimension of self psychology is addressed by Riker, who looks at Kohut's bipolar theory of the self, and Kriegman, who examines the subjectivism-objectivism dialectic in self psychology from the standpoint of evolutionary biology. Clinical studies focus on self- and mutual regulation in relation to therapeutic action, countertransference and the curative (...) process, and the consequences of the negative selfobject in early character formation. A separate section of child studies includes a case study exemplifying a self-psychological approach to child therapy and an examination of pathological adaptation to childhood parent loss. With a concluding section of richly varied studies in applied self psychology, _Basic Ideas Reconsidered_ promises to be basic reading for all students of contemporary self psychology. (shrink)

But if there aren’t, then ‘they’ are not caused by anything and do not cause anything. That certainly appears to be false, however. John’s absence from our party might have been caused by his having fallen ill, and might cause a commotion. Dick’s not eating his soup might have been caused by his having fallen ill, and might cause a commotion.

We consider the problem of fair allocation in economies with indivisible goods. Our primary concept is that of an envy-free allocation, that is, an allocation such that no agent would prefer anyone else's bundle to his own. Since there typically is a large set (a continuum) of such allocations, the need arises to identify well-behaved selections from the no-envy solution. First we establish the non-existence of ‘population monotonic’ selections. Then we propose a variety of selections motivated by intuitive considerations of (...) fairness. (shrink)

This paper addresses the problems that must be considered if computers are going to treat their users as individuals with distinct personalities, goals, and so forth. It first outlines the issues, and then proposes stereotypes as a useful mechanism for building models of individual users on the basis of a small amount of information about them. In order to build user models quickly, a large amount of uncertain knowledge must be incorporated into the models. The issue of how to resolve (...) the conflicts; hot will arise along such inferences is discussed. A system, Grundy, is described that builds models of its users, with the aid of stereotypes, and then exploits those models to guide it in its task, suggesting novels that people may find interesting. If stereotypes are to be useful to Grundy, they must accurately characterize the users of the system. Some techniques to modify stereotypes on the basis of experience are discussed. An analysis of Grundy's performance shows that its user models are effective in guiding its performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:53. AN INDEX OF HUME'S REFERENCES IN A TREATISE OF HUMAN NATURE The index below of Hume's references in the Treatise te the works of other authors excludes those which are accurate and full in his text (of which there are few) and those which are so general, e.g., to Spinoza's atheism, that no passage is specifiable. Hume mentions other writings, for which this index is compiled, in several (...) different ways. Occasionally he mentions the author's name, the title of his book and gives a reference which is less specific than it could be. These have been identified. Often he mentions an author's name only, e.g., de Retz, and in such cases the fullest possible reference has been given. One of Hume's notable intellectual gifts was his ability to distil several pages of a book into one or two sentences of crisp and accurate synthesis. (This skill is most apparent in his summaries of articles in Bayle' s Dictionary in his "Notes on Philosophy", of which the manuscript is in the Royal Society of Edinburgh Library.) In these instances, page references are impossible and the closest indication one can give is a section or chapter. Some of his references are anonymous, e.g., as an 'elegant writer' says, and so are some quotations. These have been identified with one exception. One anonymous reference (number 24 below) requires explanation because it is both anachronistic and interesting. Hume refers to an observation by "a late eminent philosopher". It is anachronistic because the book to which he refers was published after the Treatise; it is interesting because it provides further evidence of Hutcheson's influence on Hume and the latter' s regard for him. The explanation, for Hutcheson was still alive when Vol.11 of the Treatise appeared in 1739, is that 'late' is here being used in the sense of 'recent' - Hutcheson himself uses the word in the same way in referring to Mandeville when the latter was 54. alive. (An enquiry concerning moral good and evil. Section 1, VI.) Further, the System circulated widely among Hutcheson's friends in Scotland and over so many years that it finally appeared posthumously. That Hume could not cite a published work also accounts for the anonymity of the reference to someone he admired. It is often impossible to determine in which language or in which edition Hume read a particular author. Where there is evidence as to which language he used, the title has been given in that language. There are now so many extant editions of the Treatise that Volume, Part, Chapter and Section references are given, as well as the pagination of Selby-Bigge' s edition, so that readers of other editions may be able to use the index. 1.Vol. 1. Title-page. Tacitus, The Histories, Bk. I. 1. 2.Part 1, Sect. 1, p. 2, n. John Locke, An Essay concerning Human Understanding, Bk. I, Chap. I, 8. 3.Sect. VII, p. 17, n. George Berkeley, A Treatise concerning the Principles of Human Knowledge, Introductixi, Sect. 7, e_t seq. 4.Part II, Sect. II, p. 30, n. Nicolas de Malezieu, Elementa Geometrica. 5.Sect. Ill, p. 35, n. John Locke, Essay, Bk. II, Chap. XIV. 6.Sect. IV, p. 43, n. Antoine Arnauld, La logique ou l'art de penser. Part I, Chap. 5. (In some editions Pierre Nicole is named as co-author. The book is also known as the Port Royal Logic). 7.Sect. IV, p. 46, n. Isaac Barrow, Mathematical Lectures. 8.Part III, Sect. Ill, p. 80, n. Thomas Hobbes, Elements of Philosophy, Part Second, Chap. 9. And Tripos : in Three Discourse. Ill, of Liberty and Necessity. 55. Sect. Ill, p. 80, n. e.g., Samuel Clarke, A Demonstration of the Being and Attributes of God, Props. I-III, et. seq. 10.Sect. Ill, p. 81, n. John Locke, Essay, Bk. IV, Chap. X. 11.Sect. VIII, p. 100 and appendix Vol. Ill, p. 630. Cicero, De Finibus Bonorum et Malorum, Bk. V. 1.2. 12.Sect. XIII, p. 153. Jean Francois Paul de Gondi, Cardinal de Retz, Mémoires, Bk. III. The second 'observation' is from Book... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:73. More Hume autograph marginalia in a first edition of the "Treatise". Two sets of marginalia by Hume in copies of the first edition of A Treatise of Human Nature have been published. One is a copy in the British Library. This has 1 2 been described by Connon and Nidditch and was, no doubt, one, at least, of the copies which Hume kept for himself. The marginalia are (...) so extensive as to suggest that, at the time he made them, he may have been hoping for an opportunity to publish a second edition of the Treatise. The other copy with marginalia, a presentation copy to his kinsman, Henry Home, Lord Karnes, has been described by Wallace Nethery, Librarian of the Hóose Library of Phil3 osophy and by Nidditch. There is a third copy of the Treatise with marginalia in Hume's hand which was a pre4 sentation copy to Pope. The Pope copy is inscribed on the flyleaf of Volume I in Hume's handwriting, "To Alexander* Rope Esq at Twickenham". There are 18 corrections in Volume I and 5 in Volume II. They are as follows, the first word or phrase being the error, the second the correction. The first word is usually scratched out in the text and the correction inserted in the margin but sometimes insertions are simply made within the text. 1st EditionSelby-Bigge 1.12.252.8'the' Our' 1.35.2316.1'of 'or' 1.57.428.18'these* 'those' 1.58.829.6'part' 'parts' 1.111.2860.27'defection' 'dissection' 1.126.569.14'it' deleted 1.154.486.1'worn out' "worn it out' 1.240.7136.9'as' 'when' 1.256.21145.28'evidence' 'testimony' 74. ï. 273. 20155.24'instance' 'instances' 1.280.16159.33'gave it's' 'gave it its' Ï.286.25163.22-23'upon observation' 'upon the observation' 1.287.16164.2'cause' 'case' 1.288.5164.15'results* 'result' 1.293.10167.14'exists' 'exist' 1.343.17196.22'opening I' 'opening it I' 1.402.16231.6'presses' 'press' 1.453.1260.34'what the' 'what is the' 11.108.10 336.24 "affections wheel' 'affections to wheel' II. 120. 4 343.19 'cause' 'causes' 11.228.23404.15 'One' Our' 11.229.19 404.32 'and proceed' 'and practice proceed' 11.271.24428. 20 'considerably' 'sensibly' In addition, someone, perhaps Hume, has marked a printer's error where a letter has slipped. (Vol. I, p. 466. 3). It is not possible to find out the date upon which Hume gave this copy to Pope from the published correspondence of either party. Pope died in 1744 and Hume may have sent him a copy of the Treatise because of the former's literary renown and because the publishers had a large number of unsold copies on their hands. From the fact, among others, that the footnote on Volume II, p. 168 (Selby-Bigge, p. 371) is missing from both the Pope1 and the Karnes copies, it is clear that Volumes I and II were, as one might expect of presentations, in each case early issues or states. It is more than likely that Hume made other presents of the Treatise to friends and people he admired such as Francis Hutcheson and Bishop Butler, and these 75. would probably have included marginalia along the same lines as the Karnes and Pope copies. For what Hume substantially did in giving these copies was to perform an act of courtesy; i.e., to incorporate items from the errata tables into the text. The Pope copy is the least important and interesting of those noticed so far, for it contains only one correction which is not included in the errata tables - the second item listed above in Volume I - and not all of them. The percentage of the changes called for in the errata tables which are made by Hume in the text diminishes markedly as between Volumes I and II. Moreover, there are no marginalia in the third volume, 'Of Morals', and this is perhaps to be explained by Hume's becoming bored with this somewhat superfluous task, even if it was a politeness and the fact... (shrink)

Discussing Difference and Dealing With Desolation and Despair Content Type Journal Article Category Editorial Pages 315-317 DOI 10.1007/s11673-011-9331-1 Authors Michael A. Ashby, Palliative Care and Persistent Pain Services, Royal Hobart, Hospital, Southern Tasmania Area Health Service, and School of Medicine, Faculty of Health Sciences, University of Tasmania, 1st Floor, Peacock Building, Repatriation Centre, 90 Davey Street, Hobart, TAS 7000 Australia Leigh E. Rich, Department of Health Sciences (Public Health), Armstrong Atlantic State University, 11935 Abercorn Street, Savannah, GA 31419, USA (...) Journal Journal of Bioethical Inquiry Online ISSN 1872-4353 Print ISSN 1176-7529 Journal Volume Volume 8 Journal Issue Volume 8, Number 4. (shrink)

It is critical to remember details about meetings with healthcare providers. Forgetting could result in inadequate knowledge about ones' health, non-adherence with treatments, and poorer health outcomes. Hearing the health care provider plays a crucial role in consolidating information for recall. The recent COVID-19 pandemic has meant a rapid transition to videoconference-based medicine, here described as telehealth. When using telehealth speech must be filtered and compressed, and research has shown that degraded speech is more challenging to remember. Here we present (...) preliminary results from a study that compared memory for health information provided in-person to telehealth. The data collection for this study was stopped due to the pandemic, but the preliminary results are interesting because the pandemic forced a rapid transition to telehealth. To examine a potential memory deficit for health information provided through telehealth, we presented older and younger adults with instructions on how to use two medical devices. One set of instructions was presented in-person, and the other through telehealth. Participants were asked to recall the instructions immediately after the session, and again after a 1-week delay. Overall, the number of details recalled was significantly lower when instructions were provided by telehealth, both immediately after the session and after a 1-week delay. It is likely that a mix of technological and communication strategies by the healthcare provider could reduce this telehealth memory deficit. Given the rapid transition to telehealth due to COVID-19, highlighting this deficit and providing potential solutions are timely and of utmost importance. (shrink)

This is an interview with author Ken Wilber, whose work on consciousness over the last twenty‐five years has been tremendously influential. His work blends "Eastern" and "Western" approaches and has influenced scholars in psychology, philosophy, and religion, as well as in anthropology. His work on transpersonal psychology is especially well‐known, and his first book, The Spectrum of Consciousness, arguably marks the beginning of transpersonal studies. Frances Vaughan has referred to Wilber's work as the "work of genius." Daniel Goleman once listed (...) Wilber among the "ranks of the grand theorists of human consciousness" including "Ernst Cassirer, Mircea Eliade, and Gregory Bateson." Wilber discusses the scope of the consciousness problem as well as contributions to the field that anthropologists might be well suited to make. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)